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Upset The Rhythm presents…
J. McFARLANE’S REALITY GUEST
THE PHEROMOANS
BISCOTTI
Wednesday 14 August The Islington, 1 Tolpuddle St, Angel, London, N1 0XT 7.30pm | £7 | TICKETS
J. McFARLANE’S REALITY GUEST is
the new project of Australian artist Julia McFarlane. As a member of
the group Twerps, McFarlane has traversed guitar-centric, melodic pop
music for some years while honing a highly unique, personal musical
language. ‘Ta Da’ is the first recorded unveiling of McFarlane’s
affecting, oblique songwriting panache. Originally released in her
native Australia on Hobbies Galore, ‘Ta Da’ will be released worldwide
by Night School in June 2019. ’Ta Da’ showcases McFarlane’s songwriting
immersed in psychedelic music and synths. It’s a brilliant, deft
concoction swimming in Young Marble Giants-type minimalism washed with
bare pop and harmony similar to Kevin Ayers making sense of a Melbourne
suburb full of faces half-recognised in the blanching sun. McFarlane’s
vocal is straight forward, lyrically conversational but still not
completely in focus, a surreal kitchen sink drama filtered through a
dream where everything is in an unusual place. Reality Guest similarly
draws on BBC Radiophonic Workshop-style noise synths, flute solos,
palm-muted guitar and a sleepy, psychedelic tone that drifts away into
the sunset, simple and direct.
https://hobbiesgalore.bandcamp.com/album/ta-da THE PHEROMOANS have occupied their own peculiar niche in the UK's DIY music scene for the last 12 years. Initially known for primitive garage-esque repetition on their early releases, two LPs for Upset! The Rhythm saw the group develop a more pastoral sound before being mutated by electronics on 2016's ‘I’m On Nights’. New record ‘County Lines’ (Alter) is their fifth full-length and takes in each aspect of their past sonically, providing a wry tonic for today’s heady exhaustion. More of life's banalities and stale daydreams are given a good airing in Russel Walker's lyrics. Delivered with the usual droll lethargy, he's a septic entertainer par excellence who teases out just enough of the very real horror of the UK's current predicament to keep his aggrievements charming. http://thepheromoans.blogspot.com/ BISCOTTI is a project lead by multi-instrumentalist and producer Carla Ori, who lives in Melbourne. Through a cinematic lens she adds evocative sounds which create other worldly landscapes and guide the listener through different scenes. Elements of synth pop, disco, hip-hop and funk come together to create her colourful avant pop sound. https://www.biscottimondo.com/ |
Upset The Rhythm presents…
TIM PRESLEY’S WHITE FENCE
ROBERT SOTELO
MARTIN FRAWLEY
Wednesday 21 August
OSLO, 1a Amhurst Road, Hackney Central, E8 1LL
7.30pm | £12.50 | TICKETS
TIM PRESLEY’S WHITE FENCE,
informed by the extreme polarities of punk rock and psych, brings forth
songs like no others. Two years on from his solo missive, the sense that
something has cratered and someone has walked away, somehow alive, is
heavy in the air. With his new album ‘I Have to Feed Larry’s Hawk’, Tim
Presley meets White Fence again, and together, they move on. He started
writing songs for this album in a small rural town in the UK called
Staveley. Tim was staying with Cate Le Bon there during winter. While
she was there going to school learning how to build & design
furniture out of wood, he started writing on her piano. Tim came back to
San Francisco to record, but first he had a fervent dream that Johnny
Thunders asked him to be honest & simple with this album, and also
why dolphins were not given arms. He booked studio time with a very
talented fellow named Jeremy Harris and they worked together out of a
studio in the Dogpatch district of SF (owned and run by Paul from the UK
band The Bees. Jeremy was able to learn the songs on piano, keys and
finesse the parts, including most drums and also record/engineer the
whole album. Also playing on the album, is S.F. Mission district native
Dylan Hadley who plays drums on two songs: ‘Until You Walk’ &
‘Forever Chained’ and H. Hawkline adding guitar and vocals on ‘Phone.’
With this new record Tim re-learned how to walk. The poppy stomp. He’d been tethered to a hawk, that he must feed on the dot. While ‘I Have To Feed Larry’s Hawk’ has tinges of both sides in its ’60s guitars and whimsical, pastoral folk, however, what dominates is Tim’s ability to pen strange, warm tracks like ‘Lorelei’ that are totally out of step yet tug on familiar melodic heartstrings. Like Syd Barrett or, more recently, Euros Childs before him, White Fence continues to make the peripheries seem oddly accessible. Things really soar when Presley privileges space and simplicity and with this album he’s created a bare-bones, diary like project that bounces between optimism and melancholy. ‘I Have To Feed Larry’s Hawk’ came out on Drag City this January. https://timpresley.bandcamp.com/ ROBERT SOTELO is a cosmic pop melodist; a heartfelt multi-instrumentalist whose direct songs are curiously affecting. His debut album ‘Cusp’ from 2017 was packed with miniature psych overtures and earnest musings, he then followed this up in 2018 with an album called ‘Botanical’, more keyboard-minded and playful with its near-absurdist palette of sound and reflective mood. This September Upset The Rhythm will release Sotelo’s third album ‘Infinite Sprawling’, his first record since relocating from London to Glasgow and partly inspired by his new city’s inclusive and collaborative musical world. Recorded with Ruari MacLean (of Vital Idles, Golden Grrrls) and Edwin Stevens (Irma Vep, Yerba Mansa) at their home studio Namaste Sound, ‘Infinite Sprawling’ grew out of Sotelo’s sketchbook of skeletal songs, with MacLean and Stevens developing their own drum, guitar and keyboard parts. These songs pulled together like a wakeful stretch on a Sunday morning, flowering with a lightness of touch, sounding both carefree and brisk. https://robertsotelo.bandcamp.com/ MARTIN FRAWLEY, known to many as a principal member of Melbourne’s Twerps, recently struck out on his own to record an album with Stewart Bronaugh (Angel Olsen, Lionlimb), and the results are just as melodic and touching as his former band’s material, if not more so. ‘Undone at 31’ is available now on Merge Records. https://www.mergerecords.com/martin-frawley |
Upset The Rhythm presents…
MARY LATTIMORE
NUMMO TWIN
Thursday 29 August The Courtyard Theatre, 40 Pitfield Street, Shoreditch, N1 6EU 7.30pm | £10 | TICKETS
MARY LATTIMORE is a Los
Angeles-based musician who uses her Lyon and Healy concert grand harp to
conjure up beautifully abstracted forms that evoke a host of memories,
landscapes and allusions. Across a breadth of recordings, collaborations
and art commissions her music explores a realm of wordless narratives
and indefinite travelogues, where – with the help of effects and
occasional vocals - extended harp improvisations morph into spectral
songforms. In live performance she reveals the impressionist magic of
her chosen instrument, blurring classical technique and ambient
electronics to beguiling effect.
In 2018 Mary released Hundreds of Days, her second LP on Ghostly International, as well as a collaborative album with Meg Baird entitled Ghost Forests (Three Lobed). She has moved a long way since her classical studies at Eastman School of Music, via days in Philadelphia with the likes of Espers and Fursaxa and sound-making time with Steve Gunn, Sharon van Etten and Kurt Vile. She has also collaborated with guitarist/synth player Jeff Zeigler on their 2014 album Slant of Light (Thrill Jockey) as well as composing a live score for Philippe Garrels' 1968 experimental silent film Le Revelateur which they subsequently toured together. https://marylattimoreharpist.bandcamp.com/ NUMMO TWIN plays ethereal, dream-like folk songs and noise soundscapes with an instrument she carved herself from an old christmas tree, an array of delay and reverb pedals, and feedback. She sings a lament to a forgotten place. https://nummotwin.com/ |
See you tomorrow, thanks as always for your support!
Upset The Rhythm
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